The Illustrated 

STUDIO METHOD 

of 

PHOTOPLAY INSTRUCTION 























The Illustrated Studio Method of Photo-Play Instruction 


ORIGINATED BY 

Percival J. Cooney 

EXPLANATION “HIS WEDDING PUNCH” v 


The object of this method is to teach the requirements of photo-play writing 
by demonstrating to the student the relation between the synopsis of the story 
and the requirements of a producing studio by presenting a sample story in four 
parallel columns as follows—the continuity or story told in scenes (such as is 
used by a producing director in studio practice)—the produced story itself as 
it appears on the film—a dramatic criticism and analysis of the story and finally 
the story itself in synopsis form as it should come from the hands of the writer. 

By this method the relation between the incidents of the story as told in the 
synopsis and its actual materialization into continuity -and the scene as it 
appears on the film is made clear and can be seen at a glance. By following arty 
given incident in the synopsis across the page from right to left its dramatic 
value and relation to the story can be seen in the third column, its appearance 
on the film in the second column and the manner in which it is expressed in con¬ 
tinuity in the first column. By this method of four parallel columns in scene 
units running across the page the student has completely illustrated and ex¬ 
plained the meaning of terms used in photo-play construction such as Introduc¬ 
tion, Characterization. Conflict, Suspense, Surprise, Climax, Comedy, Dramatic 
Situation, Dramatic Crisis, Motivation. 

As an illustration or demonstration of the method the screen story “HIS 
WEDDING PUNCH” is herein used. 

* 


Cast of Characters: 

JIMMIE SHIELDS.(Lead) Who is never afraid of a scrap 

ALICE MASON.Jimmie’s sweetheart 


Minor Characters: 


Mr. Mason...* * * 

...Who in his vouth was something of a fighter himself—father of Alice 


Policeman 
Burly workingman 
Workingman’s wife 
The Preacher 


Incidental Characters: 

Two flashily dressed sports, proprietor of cigar stand, small boy, waiter, 
crowd of people—ten or fifteen in the park. 


DEFINITIONS 

of 

TERMS USED IN PHOTO-PLAY CONSTRUCTION 


* 

DIRECTIONS FOR WRITING A PHOTO-PLAY 


UNITY: —The first requirement of a screen story, that it should be written 
about one chief character or lead, with a definite dramatic objective. 

DRAMATIC OBJECTIVE: —An aim which the leading character is endeavoring 
to attain—a purpose for which he is striving. It is the struggle for this 
which makes the story. 

CONFLICT: —The desire of the lead to attain his object generally meets with 
opposition, either from a person, persons, or conditions. In the struggle of 
the lead against his opposition we have what is known as conflict. 

DRAMATIC SITUATION: —Such a relation between characters as leads to a 
deep emotional reaction and a decision on the part of one or both characters. 


1 . 


2 . 


3. 


Select your chief character who must have an adequate dramatic motive, 
that is. he should have some definite object to attain the love of a woman, 
the victory over an opponent, escape from a predicament, etc. 


Select the opposing forces; that is, those persons or person or conditions 
which would naturally be an opposition to his attaining his purpose or 
dramatic objective. 


Visualize the struggle or conflict which must ensue. Making arrangements 
or the occurrence in the course of the conflict for three dramatic crises 


DRAMATIC CRISIS:- —A spot in the struggle or conflict where the interest is 
most tense and where the outcome is impending but still in doubt. 

LEAD: —A term used to indicate the leading man or woman or chief character 
around whom the story is built. 

CHARACTERIZATION: —Making clear to the spectator the character of a per¬ 
son either by a subtitle or by action. 

SUSPENSE: —Such an arrangement of the material of the story of the incidents 
of the conflict as will hold the spectator in doubt as to the outcome. 

PREPARATION: —Incidents in a story which have no seeming relation to 
neighboring incidents, but are in certain at that particular place to prepare 
the spectator for some coming incident in the story. 

SURPRISE: —Where a dramatic crisis terminates in an unexpected manner. A 
manner which is not at all likely to be foreseen by the spectator. 

PREDICAMENT:- —One form of a dramatic situation where the chief character 
finds himself in an undesirable situation from which he endeavors to escape. 

MOTIVATION: —Indicating the reasons or motives which explain the coming 
action of a character. 

CLIMAX: —The last^ and culminating dramatic crisis in a story where the aim, 
the dramatic objective of the chief character is attained or not attained. 

S^TTI NG: —Introduction of a scene to denote place where future action is to 
take place. 


4. Visualize your minor characters and their relation to the conflict. 

5. Write your story briefly in twenty-five numbered scenes, leaving considerable 
space between them. 

6. Now build up your story by inserting scenes in the spaces between those 
already written until the number of scenes is about seventy-five. 

7. Considering this as material, now write your story in synopsis form. 

8 Study your synopsis from the following standpoint: 

a. Is your lead likable and his dramatic objective praiseworthy? 

b. Have you at least three necessary dramatic crises? 

c. Are your characters properly introduced? 

d. Is there enough conflict in the story? 

e. Is there suspense in the story—that is, is the outcome hidden from 

the spectators? , . « 

f is your climax satisfactory to the chief character and the spectator. 


















-pfvl 

C.% 



g)C! A659915 


m\ -I 1922 


ILLUSTRATED STUDIO METHOD INSTRUCTION CHART 


giving in parallel columns and relative position continuity of scenes, 
screen frames, dramatic criticism and analysis, and synopsis of story. 

Devised and originated by Percival J. Cooney . 


WRITTEN CONTINUITY OF “HIS WEDDING 
PUNCH” AS ADAPTED BY THE CONTINUITY 
WRITER FROM THE DETAILED SYNOPSIS. 
(This is the 2nd vital step in the production of a 
picture.) 


REPRODUCTIONS OF SCENES AS FILMED 
FROM THE WRITTEN CONTINUITY OF 
“HIS WEDDING PUNCH.” (This is the 3rd 
and final step in the production of a picture.) 


(Introductory) Title 1— 

JIMMIE SHELDON, LIGHTWEIGHT 
CHAMPION OF THE NEIGHBOR¬ 
HOOD, WHO HAS JUST BEEN 
HANDED A “KNOCKOUT” BY 
CUPID. 



Scene 


1—EXT. CIGAR STAND—MED. CLOSEUP. 
Jimmie buys cigar from proprietor of cigar 
stand—lights match on proprietor’s coat 
lapel — exits swaggering from scene. 



(Introductory) Title 2— 

ALICE MASON—JIMMIE’S SWEET¬ 
HEART, WHO IS STRONGLY' OP¬ 
POSED TO PHYSICAL COMBAT. 



Scene 3—STREET NEAR CORNER AS IN SCENE 
2—LONG SHOT. 

Two men, sportily attired, strolling along— 
suddenly look off and see Alice — they 
pause and confer with each other, getting- 
over that “she is some chicken” and exit. 



DRAMATIC CRITICISM AND ANALYSIS OF THE 
STORY. Illustrating the meaning of terms by 
reference to incidents in the pictures in column two. 

BRIEF DETAILED SYNOPSIS OF THE STORY 
AS WRITTEN FOR SUBMISSION, BUT SUB¬ 
DIVIDED IN PARAGRAPHS TO SHOW CON¬ 
NECTION WITH ITEMS IN OTHER COLUMNS 

INTRODUCTION OF LEAD. By the use of a des¬ 
criptive sub-title. 

Jimmie Shields is a well-meaning young man whose 
chief characteristic are two strong arms and an ex¬ 
ceedingly hot temper. He is the amateur pugilistic 
Champion of the neighborhood. He is deeply in love 
with Alice Mason who deplores Jimmie’s fondness 
for fighting. 

Introduction. Title 1 — 

INTRODUCTION OF LEAD. By action. 
CHARACTERIZATION by action—buying a cigar 
and swaggering. 

INTRODUCTION OF HEROINE. By use of des¬ 
criptive title. 

Introductory title 2. 

Motivation for Alice’s future action shown here. 


INTRODUCTION OF HEROINE. Seen looking 

anxiously up street. 

Alice who has been expecting to meet Jimmie is strolling 
down a quiet street when 

INTRODUCTION of other characters. 

CHARACTERIZATION by dress and action. 

Two cheap sports attracted by the girl’s beauty decide 
to strike up a flirtation with “the chicken. 


Scene 


4 — STREET CORNER (Same as Scene 2)— 
LONG SHOT. 

Alice on still looking for Jimmie—two men 
enter scene and start to flirt. 



Characters already introduced brought together. 


They approach Alice who ignores their actions. 




































































































r 












* 

































r 









ILLUSTRATED STUDIO METHOD INSTRUCTION CHART 


CONTINUITY 

SCREEN SCENES 

DRAMATIC ANALYSIS 

SYNOPSIS OF STORY 

Scene 5—STREET NEAR CORNER (Same as Scene 
3)—MED. CLOSEUP. 

Jimmie enters smoking cigar—looks off and 
sees two men flirting w r ith Alice—pulls 
down coat—straightens his hat and 
rushes off scene. 

• 

PREPARATION for coming DRAMATIC SITUATION 

shown by Jimmie’s actions. 

Jimmie meanwhile is strolling down the street to keep 
his appointment with Alice and observes from some 
distance the action of the men. He grins, as he is 
never averse to a scrap. 

Scene 6—STREET CORNER (Same as Scenes 2 and 
4)—LONG SHOT. 

Alice and two men on scene—men still flirt¬ 
ing — Alice frightened — Jimmie enters— 
grabs men by back of coat-collars and 
after whirling them around—knocks their 
heads together and sends them sprawling 
from scene. Cut. 


5 

* 

pfl 


DRAMATIC SITUATION OR CRISIS shown by CON¬ 
FLICT. .^CHARACTERIZATION shown in Jimmie’s 
actions. CRISIS completed. 

Before he can reach the scene, however, it is evident 
that Alice is not only annoyed but somewhat fright¬ 
ened. Jimmie bangs the two about in lively fashion. 
They come back at him but he knocks them down 
like ninepins. Then taking them by the collar he 
w’hacks their heads together and sends them sprawling. 

Scene 7—RUBBISH HEAP—MED. SHOT. 

Two men fall Into scene—rise—rub their 
bruises and limp from scene. 





COMEDY element introduced by action of the two men. 

Amazed and discomfited the two pick themselves up 
and toddle off. 

Scene 8—STREET CORNER (Same as Scene 6)— 
LONG SHOT. 

Alice on—relieved—Jimmie brushes him¬ 
self off and offering arm to Alice ‘they 
walk out of scene. 


it 

ENDING of first DRAMATIC SITUATION. 

While Jimmie is nonchalantly brushing off his sleeves 
as if such an incident is nothing in his young life. 

Scene 9—SIDEWALK NEAR. ALLEY—LONG 

SHOT. 

Two men walking along still rubbing bruises 
—little boy jumps from behind alley 
fence, and yells “boo!” Two men jump 
. in the air and run out of scene. 


'X. * 

COMEDY ELEMENT intensified. 

The two are hurrying down an alley so badly scared 
that the “booing” of a small boy behind a fence 
starts them on the run again. 

Scene 10—PARK BENCH—LONG SHOT. 

Alice and Jimmie enter and seat themselves 
on bench—After a period of hesitation 
and embarrassment, Jimmie turns to 
Alice and speaks: 



CHARACTERIZATION of Jimmie. By action — hesi¬ 
tation and embarrassment. 

Jimmie and Alice stroll to a park bench where they seat 
themselves. 

Scene 11—PARK BENCH. 

Jimmie speaking to Alice with great earnest¬ 
ness. 


i 



CHARACTERIZATION of Jimmie by sudden proposal. 

Jimmie makes a sudden resolve to press his suit to a 
finish, and blurts out 


(Spoken) Title 3 (Cut in)— 

“ALICE . . . I . . . I . . . LET’S YOU AND 
I GET MARRIED!” 




Spoken title 3 — 

• 

“ALICE .. I . . LET’S YOU AND I GET MARRIED!” 




















































































ILLUSTRATED STUDIO METHOD INSTRUCTION CHART 


CONTINUITY 


SCREEN SCENES 


Back to scene — Alice turns to Jimmie with 
a quizzical look—she is somewhat startled 
by the sudden proposal—Jimmie taking 
advantage of her hesitation, starts to put 
his arms around her — she restrains him 
and says: 


(Spoken) Title 4 (Cut in)— 

“I LIKE YOU, JIMMIE—BUT I CANNOT 
MARRY YOU. WHY, I UNDER¬ 
STAND THAT YOU HAVE WHIPPED 
EVERY MAN IN THIS NEIGHBOR¬ 
HOOD!” 

Back to scene—Jimmie remonstrates. 



(Spoken) Title 5 (Cut in)— 

“WHY . . I . . ER . . WHY I WOULDN’T 
HARM A FLY!” 


Back to scene—Jimmie pleading—Alice is 
not convinced and says: 


(Spoken) Title 6 (Cut in) 

“I KNOW, JIMMIE—MY FATHER WAS 
THE SAME WAY—HE ALWAYS 
BRAGGED THAT HE HAD NEVER 
BEEN LICKED—THAT MADE IT 
HARD FOR MOTHER AND I.” 

Back to scene—As Alice finishes speaking 
Jimmie is downcast and takes on a de¬ 
jected air—Alice looks away as though 
forming an idea—cut. 



Scene 12—PARK BENCH—CLOSEUP OF ALICE. 

Alice is pondering over the situation and 
suddenly she smiles—an idea has occured 
to her—cut to 


Scene 13—PARK BENCH—CLOSEUP OF ALICE 
AND JIMMIE. 

Alice turns to Jimmie, placing her hand on 
his arm and says: 


(Spoken) Title 7 (Cut in) — 

“I’LL TELL YOU WHAT YOU DO, JIMMIE 
—YOU GO OUT AND GET LICKED 
AND THEN COME BACK F R YOUR 
ANSWER.” 

Back to closeup — Jimmie is somewhat 
dazed by Alice’s reply — Alice indicates 
that the answer she has given is final and 
starts to rise — cut to 


Scene 14—PARK BENCH—LONG SHOT. 

Alice rises from bench—hurriedly bids 
Jimmie goodbye and exits—Jimmie stares 
after her in amazement. 


DRAMATIC ANALYSIS 


Attitude of Alice revealed by her action. 


SYNOPSIS OF STORY 


Alice is somewhat startled by the suddenness of the 
proposal but hesitates and replies: 


Spoken title 4. 

Further characterization of Alice by her spoken reply, 
also further characterization of Jimmie as Alice views 
him. 


“I LIKE YOU, JIMMIE—BUT I CANNOT MARRY 
YOU. WHY, I UNDERSTAND THAT YOU HAVE 
WHIPPED EVERY MAN IN THIS NEIGHBOR¬ 
HOOD!” 

Jimmie amazed at this objection makes an attempt 
to deny it by saying: 


Spoken title 5. 

Jimmie’s view of himself revealed—Characterization— 
Comedy element contrast between what he is and 
what he claims to be. 


Spoken title 6. 

Alice’s words here are a preparation for the strange 
request which she is later to make of Jimmie and make 
that request seem less unreasonable. Here we have 
the foundation laid for the predicament or situation 
which Jimmie will later try to meet. This situation 
to be seen shortly provides Jimmie with a DRAMA¬ 
TIC motive. His effort to attain this is the moving 
force of the story. 


“WHY . . I . . ER . . WHY I WOULDN’T HARM A 
FLY!” 

But Alice’s dislike to Jimmie’s pugnacity is of long 
standing and she explains to him her reason. 


“I KNOW, JIMMIE—MY FATHER WAS THE 
SAME WAY—HE ALWAYS BRAGGED THAT HE 
HAD NEVER BEEN LICKED. THAT MADE IT 
HARD FOR MOTHER AND I.” 


After a moment’s thought it occurs to Alice that if once 
Jimmie were to get a good licking it might cure him. 
She is for a moment amused at this thought and then 
turning to Jimmie says: 


DRAMATIC SITUATION here on which the rest of the 
story is built. The story from now on is a result of 
this demand of Alice. 


Spoken title 7. 

Effect of Alice's demand on Jimmie. 

4 


“I’LL TELL YOU WHAT YOU DO, JIMMIE, YOU 
GO OUT AND GET LICKED, AND THEN COME 
BACK TO ME FOR YOUR ANSWER!” 

Jimmie is utterly crushed by the unexpected condition 
she has set. 


Effect of Alice’s demand on Jimmie. 

DRAMATIC CRISIS. 


He can see no sense in 
shame for himself. 


it and nothing but disgrace and 















































































ILLUSTRATED STUDIO METHOD INSTRUCTION CHART 


CONTINUITY 


Scene 15—PARK BENCH—MED. CLOSEUP OF 

JIMMIE. 

Jimmie still at sea — finally convinced that 
Alice was in earnest he registers that he 
will get licked — rises determinedly and 
exits from scene. 


(Descriptive) Title 8— 

AND SO OUR HERO INTREPIDLY 
VENTURES FORTH WITH THE 
AVOWED PURPOSE OF “GETTING 
LICKED.” 


Scene 16—STREET WITH ROW OF CHEAP FRAME 
HOUSES. 

Jimmie enters looking from right to left, 
looking for someone who will give him 
the beating that he seeks—looks off 
suddenly and registering that he sees an 
opportunity to accomplish his purpose 
he exits. 


SCREEN SCENES 




Scene 17—EXT. CHEAP FRAME HOUSE—LONG 
SHOT. 

Working man (big husky) is coming down 
steps followed by wife — she is arguing 
with him and he in turn is shaking his 
fist at her in threatening manner— 
Jimmie enters scene and indicating that 
“here’s his chance,” strides toward 
couple— 



Scene IS—EXT. CHEAP FRAME HOUSE—MED. 
SHOT. 

Jimmie enters to arguing couple and swag¬ 
gering up to man asks him what he means 
by threatening a woman that way—man 
and Woman stop arguing and look at hirr 
in amazement—Jimmie awaits the wallop 
that he expects to get from the man — tc 
his surprise, however, woman turns on 
him and raises the broom which she has 
in her hand, she orders him off the 
premises while the man steps behind her 
back for protection—Jimmie realizes the 
situation is hopeless and walks away from 
the couple in disgust — cut. 


Scene 18^—SCExNE AT TELEPHONE POLE- 
LONG SHOT. 


Scene 19— 


Husky Cop is standing leaning with hand 
on telephone pole — swinging his stick. 


STREET SCENE—MED. SHOT. 

Jimmie enters with disgusted air — suddenly 
looks off and sees Cop—registers that 
“this time I’ll fix it so that I get a real 
walloping.” He exits toward Cop. 



DRAMATIC ANALYSIS SYNOPSIS OF STORY 


End of CRISIS when Jimmie forms resolve to ‘‘get Still he will do anything to win Alice— 
licked.” 


Title 8. 

Motivation of Jimmie shown by sub-title. 


and so he starts out with the deliberate purpose of 
hunting a licking. 


Progress indicated towards next DRAMATIC SITUA¬ 
TION. 


INTRODUCTION of new character. 


' Second DRAMATIC SITUATION—also CONFLICT. 
COMEDY in the unexpected results. 


As the affair with the two sports took place in a re¬ 
spectable neighborhood Jimmie at once decides to 
go somewhere where he can start up some trouble. 
He finally arrives in a slum district. 


Here fate seems to favor him wonderfully. Picking out 
a big husky workingman who is quarreling with his 
wife on the steps of their house he decides that he 
will call him down and that a fight will occur in which 
he himself, will be licked. 


But Jimmie has picked the wrong kind of a man. 
Angrily he demands an explanation from the fellow. 
Much to Jimmie’s amazement the fellow instead of 
showing fight, is thoroughly terrified and hides behind 
his wife, and still more to Jimmie’s discomfiture the 
woman, in whose behalf he has interfered, turns on 
Jimmie and thrashes him with the broom. Jimmie 
walks away in disgust. Jimmie is inclined to give it 
up as a hopeless job when, looking down the street, 
he sees 





INTRODUCTION of new character — the policeman. 

a stalwart young policeman leaning against a tele¬ 
graph pole. 


COMEDY shown here in Jimmie’s sudden change from 
disgust to hopefulness — preparation for another 

DRAMATIC CRISIS—SUSPENSE. 

Again his despair changes to hope. Surely by picking 
a fight with the representative of the law he will 
secure the licking he so much desires. 






































































































f 


- 


J. 










/ 


. 














l* 




\ 



\ 


/ 






ILLUSTRATED STUDIO METHOD INSTRUCTION CHART 


CONTINUITY 


Scene 20—SCENE AT TELEPHONE POLE—MED. 
SHOT. 

Cop on at pole—Jimmie enters—goes up to 
Cop—fixes his tie—shines his star with 
sleeve of coat and commits further insult¬ 
ing acts upon the person of the Cop— 
Cop is surprised—then takes the affair as 
a joke and starts to laugh—this makes 
Jimmie sore and he hauls off and swats 
the Cop on the side of the cheek— 


SCREEN SCENES 



DRAMATIC ANALYSIS 


DRAMATIC CRISIS turned to comedy by Cop’s un¬ 
expected action. SUSPENSE ENDED. 


SYNOPSIS OF STORY 


Walking up to the policeman he insolently arranges his 
clothing, fixes his tie, but again Jimmie is in hard luck. 
Only for an instant does the Cop show any sign of 
resentment, then he treats the matter as a joke which 
so disappoints Jimmie that in desperation 


Scene 21—SCENE AT TELEPHONE POLE—CLOSE- 
UP OF JIMMIE AND COP. 

Cop places hand to cheek — then suddenly 
starts to sob—Cop buries his head in 
arm and cries like a child—Jimmie looks 
at him with utmost disgust and starts 
from scene. 


Same as above but now intensified when Jimmie strikes 
Cop. Co'p sobs. 


he slaps the policeman on the cheek but again Jimmie 
has picked a lemon as far as his purpose is concerned. 


Scene 22—SCENE AT TELEPHONE POLE—LONG 
SHOT. 

Cop on at pole crying—Jimmie exits regis¬ 
tering disgust. 


Scene 23—STREET SCENE—MED. CLOSEUP. 

Jimmie enters scene and stands with air of 
deep dejection—registers that “getting 
licked is a hard proposition”—places 
hands in pockets and walks slowly out 
of set— 


Scene 24—PARK BENCH SET—MED. SHOT. 

Dapper little parson is seated on bench— 
Jimmie enters disconsolately — goes to 
bench and gruffly orders the parson to 
move over — Parson indicates that there 
is sufficient room for Jimmie and does 
not move—Jimmie gives him a shove 
and Parson falls from bench— 


Scene 25—PARK BENCH SET—LONG SHOT. 

Jimmie starts to sit down—Parson rises 
and wallops Jimmie on the jaw — knocks 
him flat on his back—Jimmie rises, half- 
dazed and starts to annihilate Parson— 


Scene 26—PARK BENCH—MED. CLOSEUP. 

Parson jumps around, landing lightning- 
like blows in Jimmie’s face— 


Scene 27—TREE SET—MED. CLOSEUP. 

Alice discovered standing — suddenly looks 
off and sees fight— 


Same as 21, intensified—End of DRAMATIC CRISIS. 


The Cop instead of resenting the attack breaks down 
and cries. 



Again Jimmie is completely disgusted. He is at a loss 
what to do when 


INTRODUCTION of new character—Preparation for 
next dramatic situation. 

CHARACTERIZATION of Parson shown in his refusal 
to move. 



fate again intervenes. Strolling hopelessly into a 
park Jimmie notices a clerical-looking young man 
seated on the bench. 

He is too small and insignificant-looking for Jimmie to 
pick a fight with so he gruffly motions to him to move 
over. To which the stranger responds by indicating 
with his hand that there is room enough for two. 
Impatiently Jimmie gives him a shove which knocks 
him from the bench and proceeds 


CONFLICT—DRAMATIC CRISIS. 


to sit down. But again he has mistaken his man. 
The clerical-looking person without a word lands on 
Jimmie sending him to the ground. Utterly amazed 
by the unexpected result he staggers to his feet and 
the fight is on. 




CONFLICT. 


He is a match for Jimmie and more. As light on his 
feet as a dancer he avoids Jimmie’s blows, anyone of 
which would have put him out, and pounds Jimmie’s 
face unmercifully. 



Return of Alice to story. 


Meanwhile Alice, who had been coming down the same 
street catches sight of the fight at a distance, and 
hurries on, towards the two. 




















































ILLUSTRATED STUDIO METHOD INSTRUCTION CHART 



CONTINUITY 


SCREEN SCENES 


DRAMATIC ANALYSIS 


SYNOPSIS OF STORY 


Scene 28—PARK BENCH SET—MED. CLOSEUP. 

Parson giving Jimmie beating of his life. 


DRAMATIC CRISIS intensified—with added element 
of surprise. 


Even as she looks the fight continues and it was very 
plain that Jimmie was getting the worst of it. 


Scene 29—TREE SET—CLOSEUP. 

* Alice looks at Jimmie getting beating by 
little Parson—is amazed. 


Effect on Alice. 


Alice is utterly astounded that a man so much smaller 
than he is should be able to thrash Jimmie and 


Scene 30— PARK BENCH SET—CLOSEUP. 

Parson lands terrible blow in Jimmie’s 
eye—knocking him cold. 



End of DRAMATIC CRISIS. 


especially so when she sees Jimmie knocked out cold 
by a wicked blow from the stranger. 


Scene 31—PARK BENCH SET—LONG SHOT. 

Jimmie falls on bench unconscious — little 
Parson brushes clothes—looks at his 
opponent with a nonchalant air and steps 
spryly out of scene. 


Scene 32—TREE SET—CLOSEUP. 

Alice witnesses Jimmie’s defeat with dismay 
and some amusement — she exits towards 
Jimmie. 


Scene 33—PARK BENCH SET—CLOSEUP. 

Jimmie on bench, knocked out—slowly 
comes to himself — looks around dazedly. 


Scene 34—PARK BENCH SET—MED. CLOSEUP. 

Alice enters scene and sits down by Jimmie 
— Jimmie looks at her in surprise — Alice 
looks him up and down with a pitying 
and amused air — Jimmie then says “Well, 
I’ve been licked—are you satisfied?” — 
Alice looks at him and laughs. 


Scene 35—PARK BENCH SET—CLOSEUP OF 
ALICE AND JIMMIE. 

Alice speaks to Jimmie with a smile — 
(Spoken) Title 9— 

“WHEN I ASKED YOU TO GET LICKED, 
I MEANT BY A MAN, NOT BY A 
BOY, WHY I COULD HAVE 
WHIPPED HIM MYSELF!” 



Finish CHARACTERIZATION of Parson by ACTION. 


The clerical looking person by the way he brushed off 
his sleeve and straightened his clothes unconsciously 
imitating Jimmie’s actions, when he licked the two 
sports, evidently is as used to fighting as Jimmie 
himself. 


Effect on Alice. 


Alice, as she hurries towards her fallen lover, does not 
know whether to be regretful or amused at the result 
of her experiment. 


Effect on Jimmie. 


As for Jimmie, who was coming to slowly, the little 
birds w'ere still singing in the trees. 


PREPARATION for next DRAMATIC CRISIS. 

Jimmie thinks he has fulfilled his contract. 


But when Jimmie’s battered face looks up into the face 
of Alice he grins broadly. Has he not complied with 
her orders and got himself properly licked. And he 
says to her: 

“WELL, I’VE BEEN LICKED, ARE YOU SATIS¬ 
FIED?” 


DRAMATIC CRISIS when Alice refuses to accept 
Jimmie’s view. 

Spoken title. 


But to his amazement instead of agreeing she laughed 
and said: 

“WHEN I ASKED YOU TO GET LICKED I MEANT 
BY A MAN NOT BY A BOY. WHY I COULD 
HAVE LICKED HIM MYSELF!” 






























































ILLUSTRATED STUDIO METHOD INSTRUCTION CHART 


CONTINUITY 


SCREEN SCENES 


Scene 35—(Continued)— I 

Back to scene—Alice finishes speaking and, 
registers amusement and pity—Jimmie is| 
crestfallen. 


Scene 36—PARK BENCH SET—MED. CLOSEUP. 

Alice registers that she does not care to 
remain and discuss the matter and rises— 
She hurries off as Jimmie looks after her 
in surprise and dismay. 


Scene 37—PARK BENCH SET—LONG SHOT. 

Jimmie picks up his cap and walks out of 
set with air of utter misery—His hopes 
have all been shattered—IRIS OUT. 


(Descriptive) Title 10— 

AFTER SEVERAL HOURS OF MISERY 
JIMMIE DECIDES TO SEEK A CAFE 
IN ORDER THAT HE MAY RE¬ 
CEIVE MOMENTARY FORGETFUL 
NESS. 



DRAMATIC ANALYSIS 


Scene 38—CAFE IN PARK—LONG SHOT. 

IRIS IN—People on at tables, eating and 
drinking — Jimmie enters and takes seat 
—waiter comes to him — Jimmie gives 
order — waiter exits. 


Scene 39—CAFE IN PARK—MED. CLOSEUP AT 
JIMMIE’S TABLE. 

Waiter brings drink—Jimmie pays him-— 
waiter exits as Jimmie sips liquid dis 
eonsolately. 


Scene 40—CAFE IN PARK—LONG SHOT. 

Crowd on—Jimmie in corner at table— 
Alice enters with big, fine-looking man— 
waiter shows them to table near that of 
Jimmie—they sit and give order to 
waiter. 


Scene 41—CAFE IN PARK—MED. CLOSEUP OF 
ALICE AND MAN AT TABLE. 

Man turns to Alice and talks to her in 
affectionate manner—Alice smiles and 
seems to respond to his advances. 



Effect on Alice. 


End of CRISIS. 


(Descriptive) Title 10. 

Lapse of time shown by wording. 



Setting for another DRAMATIC CRISIS. 



Same as 38. 


Further setting. Return of Alice to story—INTRO¬ 
DUCTION of new character. 


Relations between Alice and stranger shown. 


SYNOPSIS OF STORY 


Jimmie’s amazement at this announcement is pitiful. 
He apparently collapses with his mouth wide open 
and 


Alice disgusted with the whole affair gets up and walks 
away, her head held high in the air. 


As for Jimmie the world seemed to have come to an 
end. He has done everything he could, and even when 
Fate smiled upon him and he had found a man who 
unexpectedly gave him a licking, the girl he loves goes 
back on her part of the bargain. 


Wearily and with lagging footsteps Jimmie wanders 
into an open air cafe in the park. Mechanically he 
gives the waiter his orders. 


He is so lost to the world that he doesn’t know what is 
going on around him. But while he sits in a sort of 
stupor 


Alice accompanied by a big fine-looking man takes 
her seat at a table not far away from him. The 
waiter serves them and 


they chat in a friendly and confidential manner. 












































































s 





y 

r % 


\ 




^ - 












* 



l 


/ 




v 






* 


r . 


\ 





— — 







-i 











ILLUSTRATED STUDIO METHOD INSTRUCTION CHART 


CONTINUITY j SCREEN SCENES j DRAMATIC ANALYSIS | SYNOPSIS OF STORY 


Scene 42—CAFE IN PARK—CLOSEUP OF JIMMIE. 

Jimmie sipping liquid—suddenly looks off 
and sees Alice and man — registers sur¬ 
prise. 

\ 

DRAMATIC SITUATION. 

More preparation for another CRISIS SUSPENSE. 
“What will Jimmie do?” 

Meanwhile Jimmie’s wandering eye happens to catch 
sight of Alice and her escort a short distance away 
and 

Scene 43—CAFE IN PARK—MED. SHOT 01 
JIMMIE. 

Jimmie’s surprise turns to anger and he 
jumps to his feet—pulls down coat— 
adjusts his hat and exits with blood in 
his eye. * 


Progress towards CRISIS speeds up. 

in a flash his hopelessness falls away from him. He 
is fighting mad now and there is blood in his eye when 
he gets up. He has been thrashed with no result as 
Alice has broken her promise, but to have another 
rival flaunted in his face is more than he can stand. 
He walks 

Scene 44—CAFE IN PARK—LONG SHOT. 

Everybody on—Jimmie strides over tc 
table at which Alice and man are seatec 
—glares down at them—Alice looks up 
startled and man’s gaze follows hers. 




Same. 

over to the table and manifests his feelings by a glare 
of supreme contempt. As this, however, does not 
seem to be enough to provoke Alice’s escort into a 
fight he- 

* 

Scene 45—CAFE IN PARK—MED. CLOSEUP AT 
TABLE. 

Jimmie wastes no time—he reaches over tc 
man—yanks him to his feet and starts in 
to beat him up. 


UR J 


Conflict—CRISIS begins. 

-■ i 

starts it himself by grabbing Alice’s escort by the 
collar, jerking him to his feet and 

Scene 46—CAFE IN PARK—LONG SHOT. 

Jimmie and man in desperate battle— 
crowd surges around the contestants. 

i 

jjpGSl 


Conflict — CRISIS continues. 

a wicked fight follows. The man, though not nearly 
as young as Jimmie, is a sturdy battler and gives a 
good account of himself. It does not look as if it 
would be an easy job for James. 


Scene 47—CAFE IN PARK—CLOSEUP OF ALICE. 

Alice witnesses fight with a look of alarm on 
her face. 

| 

k v 4 v £T "fiB 


Effect on Alice. 

i 

Alice meanwhile, whose first expression of surprise is 
now changed to one of horror and anxiety, stands 
looking on helplessly. 

Scene 48—CAFE IN PARK—LONG SHOT. 

Jimmie and man still fighting — surrounded 
by crowd. 


Conflict. 

Meanwhile a crowd, attracted by the fight, gathers, 
which increases Alice’s 

Scene 49 — CAFE IN PARK—CLOSEUP OF ALICE. 
She is looking on in alarm. 

i 

liij 

_ 

1 1 

Effect on Alice. 

dismay. She is on the verge of tears. 


/ 


































































% ... 




/ 


\v 




t 



J - ’ Si\ 








J 




•• 








w . 





* 1 * v W * 


S' 


— .V V % N*» * 

'• \- v - "■ - ' V " *■•• .. 


f 



t 






1 



7 -r- ..- - ■. . • - — -v-i,’ 




- ■> 
- - - « <• v 



^ - 4 ' * 




. * 


. - •■=-_ 


% 







x- 



■+ 


/ 


> * *■» • 

- * * j 












V 







ILLUSTRATED STUDIO METHOD INSTRUCTION CHART 


CONTINUITY 

SCREEN SCENES 

DRAMATIC ANALYSIS 

SYNOPSIS OF STORY 

Scone 50—CAFE IN PARK—LONG SHOT. 

Man breaks from crowd in disheveled con¬ 
dition — one eye blackened—his collar 
torn — he rushes out of set followed by 
Jimmie. 

i 

iM 


Lull in conflict — SUSPENSE — “How will it end?” 

But Jimmie at last gets the best of it and Alice’s escort 
has had enough. He turns and 



Scene 51—PARK SET—LONG SHOT. 

Man runs through set followed by Jimmie. 




Same as 50. 

runs away from Jimmie through the crowd 

Scene 52—CAFE IN PARK—MED. CLOSEUP. 

Alice watches chase between man and 
Jimmie-^-then exits after them. 

| 

mmm 

IB k'-JS 


Effect on Alice. 

while Alice hurries after them. 

Scene 53—ANOTHER SET IN PARK—MED. 

CLOSEUP. 

Man enters and stops exhausted — Jimmie 
enters — threatens man. 

i 

■ MI • JP 

FI 

Suspense. • 

* 

But the elderly man is all in. He can run no farther. 
At a lonely spot in the park he stops. Jimmie comes 
rushing up, 

Scene 54—PARK SET—FLASH OF ALICE HURRY¬ 
ING TOWARD JIMMIE AND MAN. 


SUSPENSE. 

1 

Scene 55—ANOTHER SET IN PARK—MED. 

CLOSEUP. 

Man indicates to Jimmie that he is beaten 
—Jimmie threatens him—Alice enters. 

; 

End of CRISIS. Jimmie has won — but SUSPENSE as 
“What will Alice do?” 

but the older man lifts up his hand in a sign of sur¬ 
render. This has no effect on Jimmie and is again 
about to attack him when Alice appears on the scene. 

Scene 56 — ANOTHER SET IN PARK (same as 55) — 
CLOSEUP OF JIMMIE AND ALICE. 
Jimmie turns on Alice and speaks: 
(Spoken) Title 11 — (Cut in) — 

“THE NEXT TIME YOU GO OUT WITH 
A FELLOW, DON’T BRING HIM 
AROUND ME!” 

Back to scene, Jimmie sore — Alice amused. 


Hi 

0 

■ 4 

X 

s 

Insert—Spoken title 11. 

Jimmie’s mental attitude told in sub-title. 

Jimmie turns to her with the warning — 

“THE NEXT TIME YOU GO OUT WITH A FEL¬ 
LOW, DON’T BRING HIM AROUND ME!” 

Scene 57 — ANOTHER SET IN PARK (same as 55-56) 
—CLOSEUP OF MAN. 

Man is standing looking at Alice and 
Jimmie with surprised attitude — 

i 



Man’s mental attitude shown by expression. 

But the stranger stands staring, an utter lack of com¬ 
prehension in his face at both Alice and Jimmie. 
The whole thing is evidently a mystery to him. 

■ :V : iH ‘ '} V. 





















































































V 

















ILLUSTRATED STUDIO METHOD INSTRUCTION CHART 


CONTINUITY 

SCREEN SCENES 

DRAMATIC ANALYSIS 

SYNOPSIS OF STORY 

Scene 58—ANOTHER SET IN PARK (same as 57)— 
CLOSEUP OF JIMMIE AND ALICE. 
Alice breaks into a laugh.and says: 

i 


Sip 

Y.ik.i Jr )ij 

V * v 

DRAMATIC SITUATION for Jimmie when he finds who 
stranger is. 

Suddenly Alice breaks into a laugh and solves the 
mystery by saying: 

(Spoken) Title 12 — (Cut in)— 

“WHY, JIMMIE—HE IS NOT MY 
SWEETHEART—HE’S MY 
FATHER!” 


Spoken title 12. 

“WHY, JIMMIE, HE IS NOT MY SWEETHEART, 
HE IS MY FATHER!” 

Back to scene, Alice laughing — Jimmie 
starts with surprise and inward dis¬ 
gust, he commences to feel that he has 
made a faux pas. 



■r 

'Jm 

I 0 

< 

* 

S 


Jimmie’s figure sags and he looks hopeless. This is the 
w’orst blow of all. He has thrashed Alice’s Father 
and she will never forgive him. It seems the end of 
the day for him. 

• 

Scene 59—ANOTHER SET IN PARK (same as 5S)— 
CLOSEUP OF MAN. 

Man (Father) looks at Alice and Jimmie 
and then starts to smile — as Jimmie looks 
at him he recovers himself and takes on 
an air of sternness. 


SUSPENSE for a moment when Father for a moment 
looks stern. 

\ 

But the Father and Alice are overcome by the humor of 
the situation, and cannot restrain a smile. With an 
e'ffort, however, the elderly man assumes an air of 
sternness. 

Scene 60—ANOTHER SET IN PARK (same as 59)— 
MED. SHOT TAKING IN ALL 
THREE FIGURES. 

Alice amused—Jimmie downcast—man 
stern—Alice turns to Father and says: 



TO 

W 


SUSPENSE CONTINUED. 

But Alice canfiot conceal her amusement and as she 
looks at Jimmie with admiring eyes she turns to her 
Father and says: 

(Spoken) Title 13 — (Cut in) — 

"DADDY—THIS IS JIMMIE—HE AND 
I ARE TO BE MARRIED.” 

Back to scene — Father surprised — Jimmie 
looks at Father in contrition — Alice still 
amused. 


Spoken title 13. 

“DADDY, THIS IS JIMMIE. WE ARE TO BE 
MARRIED.” 

Jimmie can hardly believe his ears and looks hopelessly 
at the Father. 

0 

Scene 61—ANOTHER SET IN PARK (same as 60)— 
CLOSEUP OF FATHER. 

Father’s face relaxes and he smiles. 

• 


SUSPENSE continues “What will Father do?” 

The Father now completely overcome by the humorous 
side of the situation laughs aloud and 

Scene 62—ANOTHER SET IN PARK (same as 61)— 
CLOSEUP OF THREE FIGURES. 
Alice looks pleadingly at Father—Father 
smiling—Jimmie turns to him—Father 
reaches out hand to Jimmie and says: 


SURPRISE. 

fi -v 

he cannot resist Jimmie’s outstretched hand and his 
daughter’s pleading eyes. 

The secret of his sudden forgiveness of Jimmie is revealed 
when he says to him 


% 












































































' 


* * 







\ 


I 


» 





. 


- .. ,VJ< 



: 















r 
















» 


. - - - * 


v. z 





J 













- 


* 






t 




\ 


i 


c 






/ 



l 




I 






« 


* 












V 

















) 






N 


’I 
























♦ 


ILLUSTRATED 


STUDIO METHOD INSTRUCTION CHART 


CONTINUITY 

SCREEN SCENES 

DRAMATIC ANALYSIS 

SYNOPSIS OF STORY 

(Spoken) Title 14 — (Cut in) — 

“MY BOY—THAT’S THE FIRST TIME 

I HAVE EVER BEEN LICKED—I 
AM GLAD TO CLAIM YOU FOR A 
SON-IN-LAW.” 

Back to scene—Father shakes hands with 
Jimmie—Alice jumps up and down de¬ 
lightedly—Jimmie turns from Father and 
puts arms around Alice;—they kiss as 
Father wisely turns his back — IRIS 
OUT. 


LAST DRAMATIC CRISIS OR CLIMAX when Father 
relents — the dramatic purpose of the chief actor has 
been attained. 

“MY BOY, THAT’S THE FIRST TIME I HAVE 
EVER BEEN LICKED. I AM GLAD TO CLAIM 
YOU FOR A SON-IN-LAW.” 

And as Jimmie takes Alice in his arms the old man 
considerately turns his back. 

THE END 


• 

THE END 

i 

\ 

4 

1 

- 

1 ' , f 

• 

- 

9 

* 

• 

4 

• 

I 


























































































I 

































